Thesis (M.P.H.)--University of Texas Health Science Center at Houston, School of Public Health, 2008. / Source: Masters Abstracts International, Volume: 46-05, page: 2658. Adviser: Deanna M. Hoelscher. Includes bibliographical references.

This dissertation explores how representations of women in the media function as heterodesignations in response to the current socio-economic cultural complex of globalization. In its merger with reality, the media has become the dominant discourse and the means through which prevailing modes of self-understanding are made available in postmodern society, of which the simulacrum is a key feature. Representations of women in the media in general, and in television advertisements in particular, are not, in any way, subversive of hegemonic discourse and, despite the prevalent ambiguity of these images, construct women in conformity with traditional gender stereotypes. Through practices of deconstruction, such as feminist counter-cinema, of which the film Female Perversions is an example, feminism has an important role to play in liberating women from the oppressive effects of these representations, even if these efforts are not, in themselves, free from ambiguity. / English Studies / M.A. (English)

The television advertising appropriates the characteristics of the media, to promoting, through their speeches, an identification with the public. The intensive use of technical resources of the audiovisual language propose to convert television viewers into consumers of their products, using the regional cultures. On this assumption the question that assit the study of this thesis is: What are the discursive powers of the identification process which bind the televisual advertising of Polar Beer to the Gaucho public? The reason for this study focuses on the growing importance of studies of contemporary identities and in their relation with the media and their communicative practices, especially television advertising. The choice of our analysis corpus is that, firstly, the desire to study the gaucho identity and its representation in television commercials. Thus, we chose the television commercials of Polar beer because we believe that together these features, in addition to articulating the local and global levels. To compose the object of analysis we have chosen five commercial broadcast on television between 2004 and 2010 which had the regionality of Polar beer as the main appeal of selling. Our overall research objective is to analyze the identity represented in television commercials for beer Polar to the gaucho public, and the specific objectives are: to analyze the historical and cultural context of regional identity represented in television commercials for Polar beer; understand the relationship between global and local advertising communication strategies focused on identification with local culture, and, propose a description model of advertising VT, the latter is being related to the methodology of this research. The methodology consists of four steps: data collection, decoupage in advertising script, description of the commercial in an analiyzing box with five topics and, finally, the category analysis applied to VTs advertisers. The categories are presented based on the generative trajectory of meaning of Greimas and Courtés. They are: timing, place, actorialização, figurativization and theming. For a more complete analysis we add another category: sound and verbal expression. It is organized into five chapters. The first three bring the theoretical, the fourth chapter is the definition of the corpus. The fifh and final chapter analyzes the television commercials of Polar beer. The results show that the gaucho identity appears as the element responsible for identifying the public representations by means of a carefully planned construction verbal and nonverbal from television advertising by means of expressions, planes, dialougues and characters, in which highlights: gaucho localism, masculinity, attachment to land and the traditions, and the constant excitement of what is by Rio Grande do Sul. Often the choices of advertising, materialized in its representations, end up using stereotypical symbols, making gauchidade into stuffs. Television advertising of Polar beer also promotes deterritorialization, promoting a specific cultural field experiences, opening up new duties by giving new uses to the tradition, articulating the transition from a past tradition to the present update. / A publicidade televisual apropria-se das características do meio, buscando promover, através de seus discursos, uma identificação com o público. O uso intensivo de recursos técnicos da linguagem audiovisual busca converter os telespectadores em consumidores de seus produtos, lançando mão, muitas vezes, das culturas regionais. Partindo desta premissa o estudo da presente dissertação tem como questão-problema de pesquisa a indagação: Quais são as competências discursivas do processo de identificação que vinculam a publicidade televisual da cerveja Polar ao público gaúcho? A justificativa do trabalho centra-se na crescente importância dos estudos das identidades contemporâneas e na relação desta com as mídias e suas práticas comunicacionais, especialmente a publicidade televisiva. A escolha de nosso corpus de análise deve-se, primeiramente, à vontade de se estudar a identidade gaúcha e sua representação nos comerciais televisivos. Assim, escolhemos os comerciais televisivos da cerveja Polar por acreditarmos que reúnem estas características, além de articular os níveis global e local. Para compor o objeto de análise escolhemos cinco comerciais, veiculados na televisão entre 2004 e 2010, que tinham como apelo principal de venda a regionalidade da cerveja Polar. Nosso objetivo geral de investigação consiste em analisar a identidade representada nos comerciais televisivos da cerveja Polar para o público gaúcho, tendo como objetivos específicos: analisar o contexto histórico e cultural da identidade regional representado nos comerciais televisivos da cerveja Polar; compreender a relação global e local da publicidade focado nas estratégias comunicacionais de identificação com a cultura regional e; propor um modelo de descrição de VT publicitário, estando este relacionado com a metodologia desta investigação. A metodologia consiste em quatro etapas: levantamento dos dados do audiovisual, decupagem em roteiro publicitário, descrição do comercial através de um quadro composto por cinco tópicos e, por último, a análise das categorias aplicadas aos VTs publicitários. As categorias estão baseadas nas apresentadas no percurso gerativo de sentido de Greimas e Courtés. São elas: temporalização, espacialização, actorialização, figurativização e tematização. Para uma análise mais completa adicionamos mais uma categoria: expressão sonora e verbal. A dissertação está organizada em cinco capítulos. Os três primeiros trazem o referencial teórico, o quarto capítulo é a definição do corpus e o último capítulo é as análises dos comerciais televisivos da cerveja Polar. Os resultados revelam que a identidade gaúcha aparece como o elemento responsável pela identificação do público por representações cuidadosamente planejadas através de uma construção verbal e não-verbal da publicidade televisiva por meio de expressões, planos, falas e personagens, na qual se destaca: o regionalismo gaúcho, a masculinidade, o apego a terra e às tradições e a constante exaltação do que é próprio do RS. Muitas vezes as escolhas da publicidade, materializadas em suas representações, terminam por utilizar símbolos estereotipados, tornando a gauchidade em mercadoria. A publicidade televisiva da cerveja Polar também promove disvursivamente a desterritorialização, promovendo um campo de experiências culturais específicas, possibilitando novas atribuições pelos novos usos que dá para a tradição, articulando a transição entre um passado de tradições para uma atualização do presente.

Orientador: Letícia Passos Affini / Banca: Marcos Américo / Banca: Paulo César da Silva Teles / Resumo: As transformações na publicidade e na propaganda estão ocorrendo devido ao avanço das Tecnologias de Informação e Comunicação (TICs), proporcionando quebra de paradigmas modificando o modo de como assistimos à televisão, e isso, consequentemente, afeta o modelo de negócio deste meio que será alterado, pois o conceito de grade televisiva não será prioridade, sendo assim, os blocos de intervalos comerciais perdem seu principal motivo, e a televisão a fim de manter os anunciantes como patrocinadores da TV está levando os comerciais para dentro do programa. Essas transformações no modelo de negócio analógico, que traz a publicidade nos intervalos comerciais e a pluralidade de novos caminhos que a televisão digital possibilita, levam-nos a pensar sobre as direções que a publicidade irá tomar, isso porque a partir do momento que o telespectador tem a possibilidade de escapar do comercial, a publicidade e a propaganda terão de pensar uma nova forma de chamar a atenção, atrair e conquistar o telespectador, porque o atual modelo de negócio não comportará as novas possibilidades da televisão digital, buscando nova forma de patrocínio e financiamento. A fim de explorar a relação, publicidade e público no novo modelo de nogócio, encontramos o advertainment que, segundo palavras de Walter Longo, promove a "sinergia entre emoção e informação, integração de marcas e produtos no ambiente editorial dos veículos de comunicação" (LONGO). Isso se faz necessário, porque com a implantação do Sistema Brasileiro de Televisão Digital Terrestre (SBTVD-T), os telespectadores serão participativos, definindo e assistindo ao que desejam, na hora e local em que desejam com a nova plataforma. É nessa conjuntura que surgem as preocupações das agências de publicidade e propaganda, ao perceberem que o telespectador pode simplesmente não assistir a um determinado comercial, ou mesmo ignorar todo o bloco de publicidade / Abstract: The transformations are occurring due to advance of Information and Communication Technologies and providing breaking paradigms, modifying the way we watch television, and this therefore affects the business model of the media which will be changed, because the TV grid concept won't be a priority, so the advertising spaces lose their main reason, and in order to keep adversitisers as sponsors, the TV manages are bringing the commercials into the shows. These changes in the analog business model that brings advertisement in commercial breaks and a plurality of new ways that digital television provides, leads us to think about the directions that the advertisements will take. From that moment the viewer has the possibility to scape from the commercial, advertising and propaganda have to think a new way to draw attention, attract and capture the viewer, because the current business model does not contain the new possibilities of digital television, trying new form of sponsorship and funding. In order to explore the relation between advertisement and public in a new business model, we found the advertainment which in Walter Longo's words the advertainment promotes "synergy between emotion and information, brands and products integration in the editorial environment of the media". (LONGO). It is necessary because with the implementation of the Brazilian System of Digital Terrestrial Television (SBTVD-T) viewers will be participatory, setting and watching what, when and where they want with the new plataform. It appears at this conjuncture the concerns about advertisers and advertising, when it is realized that the viewer cannot simply watch a particular commercial, or even ignore the entire commercial break / Mestre

Food advertising aimed at children in America has been proven to directly impact food preferences, eating behavior and brand loyalty of youth (Story & French, 2004). The purpose of this study was to evaluate the content of television commercials that occurred during children's programming on the popular children's network Nickelodeon. This study examined the frequency, nutritional content and overall advertising techniques associated with food, beverage and restaurant commercials. It also assessed the degree to which children are being exposed to the promotion of unhealthy food, beverage restaurant commercials. This study examined commercials that aired on the Nickelodeon Network between Monday, August 11 through Friday, August 15, 2008 between 3 p.m. and 5 p.m. on the Comcast Cable System in Stockton, California. The programming was recorded on a VHS tape and then later reviewed and analyzed. Each commercial was examined in the following areas: nutritional content; slogan; branded characters; premium; link to a movie and healthy message. This study demonstrated that 40.65% of the commercials airing between 3 p.m. and 5 p.m. on the Nickelodeon television network are for food, beverage and/or restaurants. Twenty-six percent of food, beverage and restaurant commercials met or exceeded the daily recommended levels of fat, added sugars, and sodium, and fell short of providing essential nutrients as outlined by the United States Department of Agriculture (USDA) (United States Department of Agriculture, 2008). The results of this study indicate that a considerable amount of food commercials targeting children as consumers. Government regulation seems unlikely due to the First Amendment, rights to free speech. This study points to several suggestions for advertisers, advocates, Children's Advertising Review Unit (CARU) teachers and parents to address the issue of advertising to children. Some of the suggestions include stricter self-regulation, education and parental responsibility.

From the television advertisements made by presidential candidates from 1952 to 1976, this study analyzed the 131 advertisements that contained women. The analysis used the following descriptors: Number of Women's Roles, Age, Occupation, Marital Status, Locale, Concerns, and Status Relative to the Candidate. The results indicate that women are most likely to be shown as physically present although not speaking, in the 18 to 30 age group, belonging to a non-business atmosphere yet outside the home, and of an unknown marital status, and will not be shown in the same frame as the candidate. Womens' images in these advertisements were most commonly associated with issues involving the cost of living, taxes, pro-Nixon, and social security.

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

Source: Dissertation Abstracts International, Volume: 70-03, Section: B, page: 1619. Advisers: Steven H. Kelder; Ross Shegog. Includes bibliographical references.

Submitted by Cristiane Shirayama (cristiane.shirayama@fgv.br) on 2011-05-25T16:43:12Z No. of bitstreams: 1 61090100017.pdf: 1173276 bytes, checksum: cda7eb208e82169a3eb90adf64163258 (MD5) / Approved for entry into archive by Vera Lúcia Mourão(vera.mourao@fgv.br) on 2011-05-25T16:55:56Z (GMT) No. of bitstreams: 1 61090100017.pdf: 1173276 bytes, checksum: cda7eb208e82169a3eb90adf64163258 (MD5) / Approved for entry into archive by Vera Lúcia Mourão(vera.mourao@fgv.br) on 2011-05-25T16:58:29Z (GMT) No. of bitstreams: 1 61090100017.pdf: 1173276 bytes, checksum: cda7eb208e82169a3eb90adf64163258 (MD5) / Made available in DSpace on 2011-05-25T17:23:04Z (GMT). No. of bitstreams: 1 61090100017.pdf: 1173276 bytes, checksum: cda7eb208e82169a3eb90adf64163258 (MD5) Previous issue date: 2010-07-07 / This thesis aims to evaluate whether humorous television commercials (TVCs) work for non-prescription drugs, known as “over-the-counter” (OTC). The construct humor in advertising is controversial since it involves complex and broad typology, and depends on the audience characteristics. Several studies within different product categories indicated that some consumer goods are better suited for humorous TVCs, while others, such as OTC drugs, may not take advantage from it. Paradoxically, drug announcers spend billions of dollars worldwide in humorous OTC ads. An experiment with real consumers was designed as between-and-within-subjects, to test three hypotheses. Sixty women were exposed to pairs of humorous and non-humorous TVCs, for each of the three drug categories (analgesics, vitamins, and laxatives). We used fictional brand names and real ads, and measured four dependant variables: attitude toward the advertising (AAD), attitude toward the brand (ABR), purchase intention (PI), and brand choice (BC), after subjects being exposed to manipulations of two independent variables: humorous vs. non-humorous TV commercials, for the drug categories. Conditional logit model confirmed that humor does not help to persuade respondents, whose choices, attitudes, and purchase intention were less favorable with humorous TVCs, in comparison to non-humorous executions. Future research is presented regarding marketing for pharmaceutical products.

Globalization has resulted in cultures becoming more alike in many ways. The challenge is determining when communication methods can be common for a global market as opposed to targeted messages for a specific geographic area or demographic. When companies try to expand internationally they face the challenge of adapting their advertisement when communicating with customers from a new market. This study strives to analyze the impact of U.S. humorous television advertisements on Swedish consumers. Theory suggests that if the culture between the markets are close to each other, standardization is the most cost efficient plan. Humor is a common tool for companies to employ when communicating with consumers through television advertisement. It has many positives affects, but can also result in negative impact if the humor is misunderstood by the consumer. A case study was applied for this project, and all data was gathered from two separate focus groups. The focus groups included six members each, equal divided between genders. Both focus groups were introduced to five humorous television ads that have been aired in the U.S. market but not in the Swedish market. After the participants were introduced to the humorous ads, the moderator had four questions to the participants which led to discussions within the focus groups. The result of this study indicates that U.S. companies must adapt their humorous television advertisements when communicating with Swedish consumers. The Swedish consumers experienced the ads as confusing and hard to understand. Findings also indicates that the culture and the language became an issue for companies when trying to convey a message to Swedish consumers without any adaptations of the ad. / Globalisering har resulterat i att kulturer har närmat sig varandra. När organisationer och företag expanderar internationellt ställs de inför utmaningen om dom ska anpassa eller standardisera sin reklam för att kommunicera med den nya marknaden. Denna studie strävar efter att analysera vilken påverkan humoristisk tv-reklam från USA har på svenska konsumenter. Teori hävdar att standardisering av reklam är det mest kostnadseffektiva tillvägagångssättet och det mest effektiva om kulturerna är lika varandra. Humor är ett vanligt förekommande tillvägagångssätt när företag försöker att kommunicera med konsumenter genom tv-reklam. Humor i reklam har många positiva effekter men kan också resultera i det motsatta om den missförstås av konsumenten. Denna studie har genomförts som en fallstudie där data har samlats in genom att använda två fokusgrupper. Fokusgrupperna innehöll sex deltagare jämt fördelade mellan kön. Båda fokusgrupperna fick se fem olika humoristiska reklamfilmer från USA som inte har visats tidigare i Sverige. Efter varje reklamfilm fick deltagarna fyra frågor av moderatorn som ledde till en givande diskussion. Resultaten av denna studie hävdar att företag från USA måste anpassa deras humoristiska tv-reklam när de kommunicerar med svenska konsumenter. De svenska konsumenterna uppfattade reklamen som förvirrande och svår förståelig. De kulturella och språkliga skillnaderna mellan marknaderna medför ett problem för företagen när de försöker förmedla ett budskap till svenska konsumenter utan att anpassa reklamen.